Finding Time for the Old Stone Age explores a century of colourful debate over the age of our earliest ancestors. In the mid nineteenth century curious stone implements were found alongside the bones of extinct animals. Humans were evidently more ancient than had been supposed - but just how old were they? There were several clocks for Stone-Age (or Palaeolithic) time, and it would prove difficult to synchronize them. Conflicting timescales were drawn from the fields of geology, palaeontology, anthropology, and archaeology. Anne O'Connor draws on a wealth of lively, personal correspondence to explain the nature of these arguments. The trail leads from Britain to Continental Europe, Africa, and Asia, and extends beyond the world of professors, museum keepers, and officers of the Geological Survey: wine sellers, diamond merchants, papermakers, and clerks also proposed timescales for the Palaeolithic. This book brings their stories to light for the first time - stories that offer an intriguing insight into how knowledge was built up about the ancient British past.

First published in 1936 and rewritten in 1953, this book embodies the results of the author’s extensive researches and fieldwork. Part one considers types of barrows and dating, their building and the cult of the dead from Palaeolithic to Saxon times. A chapter is dedicated to maps and another to fieldwork in particular, while the final bit of the introductory material discussed barrow-digging from the time of the Romans to the twentieth century. Part two is the regional surveys, from Cornwall to Kent and northwards to the Scottish border.

This book tells the story of both the ancient humans who made handaxes and the thoughts and ideas of scholars who have spent their lives trying to understand them. Beginning with the earliest known finds, this volume provides a linear and thematic account of the history of the Old Stone Age, or Palaeolithic period, covering major discoveries, interpretations and debates worldwide; a story that takes us from the embers of the Great Fire of London to the beginning of the Covid-19 pandemic. It offers a comprehensive and unique history of archaeological theory and interpretation, seeking to explain how we know what we know about the deep past, and how ideas about it have changed over time, reflecting both scientific and societal change. At its heart lies the quest for an answer to a most curious and sometimes beautiful tool ever made – the handaxe. While focused on the Earlier Palaeolithic period, the book provides a readable account of how ideas about the prehistoric past generally were formed and altered, showing how the wider discipline came to be dominated by a succession of different theoretical ‘paradigms’, each seeking different answers from the same data set. Serving a dual purpose as a historical narrative and as a reference source, this book will be of interest to all students and researchers interested in deep human prehistory and evolution, archaeological theory and the history of archaeology.

The visual imagery of Neolithic Britain and Ireland is spectacular. While the imagery of passage tombs, such as Knowth and Newgrange, are well known the rich imagery on decorated portable artefacts is less well understood. How does the visual imagery found on decorated portable artefacts compare with other Neolithic imagery, such as passage tomb art and rock art? How do decorated portable artefacts relate chronologically to other examples of Neolithic imagery? Using cutting edge digital imaging techniques, the Making a Mark project examined Neolithic decorated portable artefacts of chalk, stone, bone, antler, and wood from three key regions: southern England and East Anglia; the Irish Sea region (Wales, the Isle of Man and eastern Ireland); and Northeast Scotland and Orkney. Digital analysis revealed, for the first time, the prevalence of practices of erasure and reworking amongst a host of decorated portable artefacts, changing our understanding of these enigmatic artefacts. Rather than mark making being a peripheral activity, we can now appreciate the central importance of mark making to the formation of Neolithic communities across Britain and Ireland. The volume visually documents and discusses the contexts of the decorated portable artefacts from each region, discusses the significance and chronology of practices of erasure and reworking, and compares these practices with those found in other Neolithic contexts, such as passage tomb art, rock art and pottery decoration. A contribution from Antonia Thomas also discusses the settlement art and mortuary art of Orkney, while Ian Dawson and Louisa Minkin contribute with a discussion of the collaborative fine art practices established during the project.